a mother cradles her tiny baby girl but in her tiny chest there is no more breath and all that’s left around is the smell of death

Nae sa-lang1 I want to seduce you with gifts of Vincent's clouds and handfuls of sweet red cherries Together we'll float to the edge of sanity painting daisies inside Vincent's head in a whirlwind of divine madness But I know I'm deluded to you I'm just a poor woodcutter climbing on a beanstalk No No I don't want to hear that story anymore bring me Vincent's palette and his brushes —Oh Vincent, Vincent my brother how I'm missing you these days— it's too late for me to listen to the songs of nearly dead cicadas Nae sa-lang I want you with cherry juices running down your little breasts I want you in the frenzied greed of poet's jasmine and in the gasping breaths of your unsated night I want you beyond your limits and your cry, beyond your scream and your whispers because I'm the sun-god the priest of ritual madness and you the Siberian Tiger prowling in the virgin snow lands 1 My love in Korean This poem is based loosely on a Korean tale of love: https://roadhouse.gr/5186 A few words about the poem…   A Korean Mythology Poem: The Surrealist Interplay of Desire and Madness   The poem “The Fairy and the Woodcutter” unfolds as a surreal narrative infused with longing, madness, and a deep sense of yearning. The poem, set against the backdrop of a fairy tale in Korean Mythology, weaves an improbable love story where fantasy and reality intermingle, creating a world that is both elusive and evocative.   The poem begins with the speaker's attempt to entice his beloved with gifts that straddle the line between the ordinary and the extraordinary: "Vincent's clouds" and "handfuls of sweet red cherries." These offerings, rich in their allusion to Vincent van Gogh, imbue the verse with an ethereal quality, suggesting a love that is at once beautiful and impossible. The reference to van Gogh, a figure whose legacy is intertwined with genius and turmoil, adds layers of complexity to the speaker's intentions. The act of "painting daisies inside Vincent's head in a whirlwind of divine madness" further anchors the poem in a space where the creative process mirrors the unpredictable nature of love.   However, the poem does not dwell solely on the fantastical. The speaker recognises the futility of his pursuit, describing himself as "just a poor woodcutter climbing on a beanstalk," an allusion to the tale of Jack. This self-characterisation evokes a fairy tale of its own, hinting at a quest that is destined to fail. The beanstalk, a symbol of a reach beyond one's station, underscores the gap between the speaker's reality and his desires. The repetition of "No, No" signals a rejection of this reality, as he clings to the hope of a love that exists only in the realm of his imagination.   As the poem progresses, the speaker shifts from entreaty to a declaration of his identity, rejecting the narrative of the woodcutter in favour of something more profound. His call for "Vincent's palette and his brushes" reflects a desire to reshape the narrative, to create a new reality where this improbable love story could be realised. The invocation of van Gogh as a "brother" suggests a shared experience of anguish, a bond formed in the crucible of intense emotion and creative struggle.   The poem then takes a turn towards the visceral, as the speaker's desire becomes more immediate and corporeal. The repeated use of "Nae sa-lang" (my love) serves as a refrain that grounds the speaker's longing in a cultural context that remains subtly present throughout the poem. The images of "cherry juices running down your little breasts" and "the frenzied greed of poet's jasmine" introduce a sensuousness that borders on the primal. Here, the improbable love story moves beyond mere yearning, into the realm of obsession, where the lines between love and possession, reality and madness, blur.   In the poem's closing lines, the speaker embraces his role as "the sun-god, the priest of ritual madness," casting himself as a figure of both power and helplessness, enthralled by his own creation. The comparison of his beloved to a "Siberian Tiger prowling in the virgin snow lands" evokes an image of untamed beauty and strength, untouched and perhaps unreachably distant. This image, paired with the subtle refrain of "Nae sa-lang," hints obliquely at the cultural roots of the speaker's love, suggesting a connection to a distant and perhaps unreachable world.   The Fairy and the Woodcutter presents an improbable love story that delves into the complexities of desire, madness, and cultural memory. The speaker's journey from hopeful seducer to a figure caught in the thrall of his own imagination mirrors the timeless struggle between reality and fantasy. Through its layered imagery and delicate allusions, the poem explores how the pursuit of love can lead to both creation and destruction, leaving the reader to ponder the true nature of the speaker's love, which remains as elusive and enigmatic as the fairy tale that inspired it.

Once upon an ancient time in the days of dust and innocence Mr. Clements at the gate holding hands with D. H. Lawrence —thank you, Mr. Clements; thank you— Nitah from the old landscape leaning on an open window fragile; trusting; all soft curls and dancing bracelets. Her kindness touched my life and all that was ever good shivered and trembled in my hands. A shy afternoon— chastity and desire on a little yellow bed an avalanche of passion and all our days of spring; her first cry, her scent and her whispers. We never said goodbye, not properly. There were no last words, no kind lies or promises of friendship. We walked away silently, both too young to have known such sadness. Gower Street is now another place. The coffee shop, the park, the little cinema— all gone. This is now a new world for old lives. One, two, three hours go by. How? When? The shadows are so much longer. How quickly morning turned to dusk. A few words about the poem… Gower Street | A Poetic Tapestry of Longing and Nostalgia | Coming-of-Age Poems In the poem “Gower Street” by the Cyprus poet Chris Zachariou, the reader is transported to a bygone era where innocence and desire intermingle, evoking a tapestry of emotions that lingers long after the final verse. This mesmerizing coming-of-age poem, written with a delicate touch of poetic grace, invites us to embark on a journey through the depths of love and loss, where fragments of forgotten memories and lingering passions find solace within its lines. Through evocative imagery and tender nuances, the poet captures the essence of a time when innocent youth traversed the cobblestone paths of Gower Street. The poem's opening lines, reminiscent of an age-old tale, set the stage for a narrative brimming with whispered confessions and hidden desires. At the heart of this melancholy poem, Nitah an ethereal presence from the ancient homeland, leans upon an open window exuding fragility, and trust. Her kindness touches the speaker, causing all that is good in him to awaken in his life. The delicate dance of chastity and desire unfolds upon a little yellow bed, where an avalanche of passion collides with the blossoming days of spring. The poet's vivid descriptions paint a tableau of raw emotion, from her lingering scent and her hushed whispers to her first cry in their first adult encounter. Amidst the poignant beauty, the poem reveals an undercurrent of longing and unfulfilled farewells. No proper goodbyes are exchanged, leaving the reader to ponder the weight of unsaid words, promises left unfulfilled , and a myriad of what-ifs. As the hours tick by, shadows lengthen and morning seamlessly transitions into dusk, offering a poignant reminder of life's fleeting nature. The poem's lyrical rhythm and haunting imagery attempt to capture the reader's imagination, immersing them in a world of profound sadness where youth grapples with the depths of sorrow beyond their tender years. Gower Street, once a vibrant tapestry of coffee shops, parks, and its tiny cinema, now stands as a poignant reminder of the passage of time and the transient nature of human connection. It encapsulates the essence of forbidden allure and the bittersweet longing that resonates within the human soul. With each line, the poet weaves a tapestry of emotions, inviting the reader to reflect on the timeless themes of love, loss, and the transformative power of memory.

in myths and make-believe she gifts herself to the stellar king hungry mouths probing tongues lithe limbs in a sea of green lips on flesh and flesh in lips to her zenith to her zenith there and back and there again A few words about the poem… Eternal Encounters: Exploring Intimacy in Greek Mythology Poems The poem "Zeus and the Virgin" weaves a narrative through its concise yet vivid imagery, capturing the essence of mythological allure and intimate encounters. The opening lines, "in myths / and make-believe," establish a realm where the boundaries of reality and fantasy blur, invoking the timeless nature of mythological storytelling.   The phrase "she gifts herself / to the stellar king" positions the virgin as an active participant in the narrative, bestowing her presence to Zeus, the celestial ruler. This act of gifting highlights both agency and submission, echoing the complex dynamics often found in mythological tales.   The subsequent lines, "hungry mouths / probing tongues / lithe limbs," evoke a sense of physicality and desire, painting a scene of fervent interaction. The repetition of sensory imagery—mouths, tongues, limbs—intensifies the intimacy of the moment, drawing the reader into the immediacy of the encounter.   The "sea of green" metaphorically situates the scene in a natural, possibly pastoral setting, where the verdant backdrop enhances the primal connection between the characters. This natural imagery is complemented by "lips on flesh / and flesh in lips," a vivid depiction of mutual desire and union.   The refrain "to her zenith / to her zenith / there and back / and there again" underscores a cyclical journey of pleasure and fulfilment. The repetition emphasizes the rhythmic nature of the encounter, suggesting a continuous ebb and flow that mirrors natural cycles and the mythological theme of eternal recurrence.   Overall, "Zeus and the virgin," from the series Greek Mythology Poems, distils a mythic encounter into a series of potent images and rhythms, offering a glimpse into the timeless dance between gods and mortals, desire and fulfilment. The poem's brevity and intensity leave a lasting impression, inviting readers to explore the depths of myth and imagination.

Icarus has flown too high he has eclipsed the stars. The Sun-God has decreed the youth must die.

“Her gates are gates of death, and from the entrance of the house she sets out towards Sheol” * Thursday’s child galloped bareback from the bleak wastelands of the desert into Inanna's garden; she sprinkled verses at her feet and whispered 'On the seventh day, I will be your only lover.' With her parchments torn and fading, she slithers down the draconian borders of an eerie galaxy into the world of a corrupted seraph's dark existence. Lilith lies naked with lime blooms until the interloper is destroyed and wrecked and Eve panting on her knees pleads for an end to such a cold winter. The clay basil pot is cracked and the road to her bedroom door lies in ruins. A foaming myriad of primal satyrs rip the second bride apart and many more inside the womb of her twisted mind are pining for an early birth to her wayward children. In his bedroom chamber, the hapless groom betrayed and seedless weeps with dreams of Lilith astride an owl hurtling to The Cities of the Sea. * Proverbs 2:18–19 Based loosely on early Spanish Kabbalistic mysticism . A few words about the poem… A Dark Myth: Lilith's Unveiling and the Quest for Forbidden Wisdom   In the depths of a dark myth and legend, there exists a figure both enigmatic and haunting—an embodiment of darkness and temptation. Lilith, the mythical first woman and wife of Adam, mentioned briefly in biblical texts and revered in various Middle Eastern traditions, continues to captivate scholars and seekers of forbidden knowledge. Her existence carries dark implications, intertwining with the realms of Judaism and Christianity, leaving an indelible mark on the collective psyche.   Lilith emerges from the shadows of history as Thursday's child, galloping bareback from the desolate wastelands of the desert. She arrives in Inana's garden, sprinkling verses at the deity's feet, whispering promises of exclusivity on the seventh day. Her parchments, torn and fading, bear witness to her descent along the draconian borders of an eerie galaxy, delving into the twisted world of a corrupted seraph's existence.   Naked amidst lime blooms, Lilith, the first bride, lies in wait, biding her time until the interloper, Eve, is destroyed and panting on her knees, pleading for an end to the cold winter that has enveloped her existence. The clay basil pot lies cracked, a testament to the ruinous path leading to Lilith's bedroom door. Within her twisted mind, a multitude of wayward children yearn for an early birth, while a foaming myriad of primal satyrs rips apart the second bride. In his bedroom chamber, the hapless groom betrayed and left seedless, weeps. Dreams of Lilith astride an owl, hurtling towards The Cities of the Sea, haunt his nights.   Lilith's allure lies in her defiance, and her refusal to be subservient to the divine order. In some interpretations, she represents a feminist rebellion against patriarchal norms. Scholars and seekers of esoteric wisdom delve into the mysteries surrounding her existence, attempting to unravel the secrets she holds within her dark realm. Her relevance in both Judaism and Christianity stems from her connections to creation, temptation, and the unravelling of human desires.   In Jewish folklore, Lilith is believed to be Adam's first wife, created as his equal. Her refusal to submit to Adam's dominance resulted in her exile and subsequent transformation into a demoness, tormenting newborn children and inciting nocturnal emissions. In Christianity, her presence is more veiled, often associated with seduction and spiritual temptation. The remnants of her mythical existence reverberate throughout various cultures, leaving traces of fascination and fear.   In this poetic exploration of Lilith's essence, the shadows of her enigmatic character are summoned. The poem draws from the murky depths of ancient legends and Kabbalistic mysticism, evoking a sense of mystery and darkness. Lilith's story echoes through the ages, inviting contemplation of the human condition, the boundaries of desire, and the consequences of defying established norms.   As scholars and seekers delve into the depths of Lilith's narrative, they find themselves confronted with the interplay of light and darkness, temptation, and redemption. Her existence remains shrouded in myth, yet her relevance persists, forever etched in the annals of forbidden knowledge and the realms of the subconscious. Lilith, the dark seductress, continues to whisper her secrets, enticing those brave enough to venture into her mysterious domain.

An impish light tiptoes in through the queen’s window falling on her open lips like a thief at midnight. Naked on her scarlet bed her hands reach out to her aching breasts. Remembering her night of sin she writhes and sighs full of lust surrendering her moist lovelands to her hungry touch.

today she has the sadness of November in her eyes tomorrow she will have the smile of May and the world will be more beautiful

The moon is smiling. I weaved her name on the moon with lilies.

I carved a poem on the moon then tethered it on fertile land.

Dusk is falling on the hill and sensual shadows dance with shards of mellow light.   A prudent day surrenders to a playful night and lovers on wings made of dreams embrace on park benches.   Primrose Hill was made for lovers.

We sail our boat to the edge with its hull full of words and its mast made of dreams. Part of the mosaics cycle of poems